Leica 35mm Summilux-C
Leica 35mm Summilux-C lenses are a ground breaking new line of PL mount primes designed to deliver ultra-high optical performance for film and digital capture.
These new T1.4 close focus primes employ a unique multi-aspheric design and high-precision cine lens mechanics to provide unmatched flat field illumination across the entire 35mm frame and suppression of color finging in the farthest corners of the frame with no discernable breathing.
All Leica Summilux-C lenses share a uniform length, 95mm threaded lens front, advanced distance focus scales and similar location of focus and iris rings – which allow quick interchange of lenses in a busy production environment. Another unique feature is an integrated net ring threaded into the rear element.
Designed to be lightweight yet rugged, the mount and lens barrel are manufactured from high-strength titanium. Leica Summilux-C lenses weigh between 1.6 and 1.8kg (3.5 – 4.0 lbs).
Call one of our rental professionals for further details on 818 972-5000.
Leica 35mm Summilux-C Primes
Sound Stage with ‘The Unwilling” Crew
Cast and crew from ‘The Unwilling’ came into Hollywood Camera to film some special effects pick-up shots on our sound stage.
‘The Unwilling’ is a psychological thriller directed by Jonathan Heap, produced by Philip Morton and starring Dina Meyer, Lance Henriksen and David Lipper. If the tag line has any indication, we are in for an edge of your seat experience.
“6 family members gather for the reading of a will. Who will leave alive?”
David Stump, ASC, the cinematographer for ‘The Unwilling’, is a member of the ASC and his credits include some amazing films. Mr. Stump decided to film the principle photography in 4K with the Sony F65, F55 and FS7 and the Leica Sumillux C primes paired with Fujinon 25-300mm T3.5 and 19-90mm T2.9.
The F65 became particular useful with its 16 bit color depth and all the scenes that had to have visual effects were shot with F65 mounted on a Cinetech Capinera dolly also provided from Hollywood Camera. The Sony F55 was used as the camera car and hand held camera, whereas the FS7 was used for the Movi M15 scenes.
The special effects pick up shots today were for a mirror shot that was needed for a scene. Filming with the Sony F65, and the Fujinon 25-300mm they needed a more heavy duty dolly. We provided them with the Cinetech Falcon 2 that is usually available for rental to the customers that are shooting in our stage. David placed the camera on its side to give you the illusion the footage was vertical, yet the prop and actor were in a horizontal position.
Bertone Visuals, our partner company provided the digital acquisition systems (Dreadnought 4K cart) which allow the DIT not only to store and archive the whole film, but also, to take care of the color management and the transcoding on set from 4K Raw and XAVC to 2K Apple pro-res 4:2:2 codec. The editor for the unwilling is currently cutting the thriller/horror movie in Premiere CC.
Gianluca Bertone the president of Bertone Visuals participated as second camera operator and second unit DP, whereas his assistant Marco Paonessa worked as DIT.
The Unwilling is being edited at the new Bertone Visuals grading room located on the second floor of Hollywood Camera. The editor will import his cut via EDL to DaVinci Resolve where Bertone Visuals and Mr. Stump ASC, will grade the whole feature in P3-DCI (for theatrical release via DCP) and Rec 709 for Internet, TV and DVD applications.
We love having productions come over and use our facilities. Our 30 x 35 foot sound stage is available to rent for film, commercial and rehearsals. Call one of our rental agents to book you in for a walk through on 818 972 5000.
CHOOSE THE ALEXA, MATCH THE LENS
Arri Alexa Plus – The ALEXA Plus is known for its exceptional image performance with 14+ stops of dynamic range. The ARRI color science in the ALEXA Plus provides natural color replication and excellent color separation. Our Alexa cameras besides capturing Apple ProRes internally are also capable of acquiring 3K Arri Raw with our onboard Codex M and S recorders.
Arri Alexa 4:3 – With the ALEXA 4:3 cameras, the full area of the sensor is used and a much higher image quality retained. In addition, the unique optical characteristics of anamorphic lenses the magic at the heart of anamorphic cinematography are rendered faithfully and fully in the digital image.
Arri Alexa XT – The ALEXA XT cameras add a number of significant and unique features: a Super 35 sensor with Open Gate and 4:3 sensor modes, in-camera ARRIRAW up to 120 fps, ProRes 4444 XQ, ProRes 3.2K, internal ND filter, Lens Data System, integrated CDL capture, ARRIRAW checksum, included anamorphic de-squeeze and high speed licenses, new viewfinder mounting bracket as well as a new, super silent fan.
Arri Alexa Mini – ARRI Alexa Mini combines a compact and lightweight form factor with the same unparalleled image quality that has made the ALEXA system a gold standard for the industry. Designed for specialized shot-making, the ALEXA Mini perfectly complements a full ALEXA shooting kit and allows the crew to keep a single system that is trusted all over the world.
MATCH THE CAMERA MATCH THE LENS
Arri Alexa Plus – The ALEXA Plus is known for its exceptional image performance with 14+ stops of dynamic range. The ARRI color science in the ALEXA Plus provides natural color replication and excellent color separation. Our Alexa cameras besides capturing Apple ProRes internally are also capable of acquiring 3K Arri Raw with our onboard Codex M and S recorders.
Sony F65 CineAlta 4K – F65 uses a unique 20 million photosite Super-35 sensor which has higher resolution than any previous digital motion picture camera. Although digital, it gives the feeling of a film based camera due to its mechanical rotary shutter. Its 16-bit color depth together with 4K/6K/8K footage output make the F65 unmatched by any other digital camera on the market today.
Sony FS7 – The Sony FS7 records in XAVC codec on internal XQD media cards in UHDTV 4K resolution (3840×2160), but it can also acquire 4K RAW footage when it is paired with the Sony AXS-R5 recorder and the HXR-IFR5 deck or the Convergent Design monitor/recorder Odyssey 7Q. The FS7 camera is capable of shooting slow motion at 60fps in 4K and 180fps at HD resolution.
FILM AND DIGITAL TIMES ARTICLE
Jon Fauer, ASC from Film and Digital Times came to Hollywood Camera last month to conduct a series of tests with the Cooke/i Anamorphic primes and the Angenieux Optimo Anamorphic 56-152 zoom with Gianluca Bertone from Bertone Visuals.
They used the ARRI Alexa XT, which is one of the higher end cameras we have here at Hollywood Camera. The lenses are also part of the amazing lens selection that is available here.
Jon Fauer ASC, is one of the publisher/editors at Film and Digital Times and he wrote a 2 page piece on the lenses he tested while at Hollywood Camera. It’s a great read, you can press on the images below to read the article or go to their website and read the full issue.
http://www.fdtimes.com/issues/nab-issue/
Call one of our rental professionals on 8189725000 to book a test shoot with these lenses or to check for availability and pricing for your next job.
Film and Digital Times
http://www.fdtimes.com/issues/nab-issue/
ADVANCED LENSES AT HOLLYWOOD CAMERA
Cooke S4’s, Leica Summilux-C, Optimo Anamorphic zoom and Cooke Anamorphic/i primes, these are some of the most advanced lenses made for filmmakers today and they are available at Hollywood Camera. Visit our website to see what else we have in our vault. All our camera and lens packages are accessorized for the productions needs and budget.
Cooke S4/i primes
Award winning Cooke S4/i T2.0 Prime Lenses were designed and developed in close technical collaboration with industry professionals. Cooke S4/i optics offer superb optical and mechanical performance, control of flare, distortion, veiling glare and spherical aberrations at full aperture.
Leica Summilux-C primes
At T1.4 the Leica Summilux-C prime lenses are among the fastest modern lens sets available. The use of exotic aspherical elements in each lens creates a telecentric path of light from the rear element to the sensor. Telecentricity and aspheric correction not only reduce chromatic aberrations and color fringing, but also create a more even illumination across the entire field.
Angenieux Optimo Anamorphic Zoom
Optimo Anamorphic 56-152mm 2S Lens has an optical performance never seen before from any other anamorphic zoom, with a 2x squeeze, no ramping or breathing and a fast aperture of T:4. The unique optical design combines spherical and cylindrical elements in the same group giving this anamorphic lens exceptional sharpness and low distortion.
Cooke Anamorphic/i primes
All of the anamorphic characteristics demanded by filmmakers today with the Cooke Look® and oval bokeh. Images beautifully rendered for film and especially suited for use with digital cameras. The Anamorphic/i, T2.3 primes have superb optical and mechanical performance. All the primes have a X 2.0 de-squeezing factor and they render a 2.40:1 aspect ratio.
Call one of our friendly staff for more information or to book a test shoot 818 9725000.
Check Availability!
David Stump ASC
It was a privilege for me to meet David Stump, ASC, who came in to Hollywood Camera for a test shoot for his upcoming project. David is a member of the ASC and his credits include some amazing films. Just to mention a few, X-Men, X-Men II, Contact and my personal favorite Stand By Me.
David’s next project is a modern Western called BLS Colorado. It’s based on a popular novel from the 1940’s with the adapted screenplay for the teaser written by Joe di Gennaro. They will be shooting in remote locations in Colorado for 7 days with the intent to develop this into a feature production.
David has chosen to film BLS Colorado on the Sony CineAlta F65 with the Leica Summilux-C T1.4, ten piece prime lens set. David loves the look of the Sony F65, especially for this film where he will be shooting a lot of day exteriors and epic landscape shots. Although digital, it gives the feeling of a film based camera due to its mechanical rotary shutter. The F65 will be set on Slog3 Cine (Via RAW player software) and the 14 stops of dynamic range of the Sony Gamut will allow David to capture the maximum out of the scenery and wild life of Colorado. He also felt the glass of the Summilux-C and the sensor of the F65 was a perfect marriage. The Leica primes are lightweight because the mount and lens barrel are manufactured from high-strength titanium and with a T stop of 1.4 they are among the fastest modern lens sets available. All Leica Summilux-C lenses share a uniform length, 95mm threaded lens front, advanced distance focus scales, and similar location of focus and iris rings which allow quick interchange of lenses in a busy production environment. The use of exotic aspherical elements in each lens creates a telecentric path of light from the rear element to the sensor. Telecentricity and aspheric correction not only reduce chromatic aberrations and color fringing, but also create a more even illumination across the entire field.
BLS Colorado will be directed by Joe di Gennaro, David Stump and Scott Crane. Scott will also be producing and acting in the film. They will finish with a cinemascope look, 2.35:1 and will be delivering the film in 4k. Post-production will take place on the second floor at Hollywood Camera using Bertone Visuals color grading room. Designed and developed with filmmakers needs in mind, the brand new Color Grading room features a 4K theater style projector. It allows David to have a full Digital Intermediates facility for grading and mastering all the way to the theatrical DCP.
We wish them the best of luck with the film. We can’t wait till we get some behind the scenes photos sent to us from the amazing landscape in Colorado. We’ll keep you guys posted.
Check Availability Here!
Canon C500 and Leica Summilux-C T1.4 package
Canon C500 PL mount and Leica Summilux-C T1.4 primes special rental package!
Hey guys we have an amazing offer this month from Hollywood Camera. To celebrate the Oscars, in the month of February we are offering a complete Canon C500 PL mount camera package for free when you rent a set of Leica Summilux-C T1.4 primes. The C500 PL mount package is worth over $3,000 a day and includes recording media to capture Canon RAW and an extensive list of support gear which is mentioned below in detail.
HOLLYWOOD CAMERA COMPANY PROFILE
Hollywood Camera moved into its 12,000 square foot rental, production and post facility in Burbank in March, 1997. We specialize in motion picture film and digital camera rentals. We take pride in offering exceptional service to our clients and building long term relationships. Our lens collection at Hollywood Camera ranges from some of the all time classics to the latest zoom, anamorphic and primes available on the market. All our camera packages are customized for the productions needs and budgets.
Optimo Anamorphic 2S Zoom – Angenieux
We are very proud to announce the arrival of the Angenieux Optimo Anamorphic 56-152mm 2S Lens here at Hollywood Camera. Optical performance never seen before from any other anamorphic zoom, with a 2x squeeze, no ramping or breathing and a fast aperture of T:4. The unique optical design combines spherical and cylindrical elements in the same group giving this anamorphic lens exceptional sharpness and low distortion.
With a 2.7x zoom range this lens allows great flexibility for framing without needing to move the camera set up. Compact and very light, weighing in at only 4.8 lbs.
To enquire about renting this lens visit the product page by clicking here or call 818 972 5000 to speak to a rental specialists.